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Lot 369
Three 20th century prints of ladies' portraits, comprised of a print originally painted by J.A. Heyermans depicting a girl with flowers in her hair, a print of a pastel portrait depicting two girls and a black and white print of a classical lady. All framed and glazed, the largest measuring approx. 69cm x 62cm.
Lot 1858
A group of five paintings, drawings and prints, to include: Maud Harmsworth - Ploughing scene, watercolour, labelled verso; A Victorian still life of fruit, labelled 'L. Hatton' verso; A pastel beach scene with three ladies wearing hats, signed indistinctly in pencil lower left; together with a colour print after Myles Birket Foster and a lithograph of boats on the Grand Canal in Venice, largest frame: 37 x 48 cm (5)
Lot 963
FOUR LATE 20TH CENTURY PAINTINGS AND PRINT, comprising a Sherree Valentine Daines signed limited edition print 'Ladies day Royal Ascot', 536/850 published 1990, approximate size 43cm x 54cm including margins, together with a Richard Akerman landscape oil on canvas, a Jacqui Talbot watercolour of a fishing village, a pastel drawing of a Tiger signed Mark and pen and watercolour drawing of St Philips Cathedral in Birmingham (qty)
Lot 961
A SMALL QUANTITY OF LATE 20TH / EARLY 21ST CENTURY PICTURES ETC, comprising a John Cooper watercolour landscape dated 1982, an unsigned pastel coastal landscape, Carole Lorrimore oil on board woodland landscape, an indistinctly signed oil on board river landscape, an indistinctly signed oil on canvas coastal village scene, two Helen L. Robertson pastel coastal landscapes of Skye, a Michael Ewins signed print and a modern needlework sampler
Lot 259
A Royal Doulton lustre powder bowl featuring a finely modeled seated figure of a Japanese woman with a fan. The figure is delicately hand-painted in soft pastel tones, including lavender, blue, and gold accents, atop a lustrous pearlized bowl. This model is identified as HN399, designed with an elegant iridescent glaze that enhances its visual appeal. The base bears the Royal Doulton backstamp, confirming authenticity. A beautiful and functional decorative piece that exemplifies Royal Doulton's craftsmanship.Artist: Harry TittensorIssued: c. 1920Dimensions: 8"HCountry of Origin: EnglandCondition: Age related wear.
Lot 29
This exquisite Seriesware whiskey barrel with fox head stopper depicts an elegant Foxhounds Hunt scene, beautifully rendered in light, pastel tones of lush greens, creams, browns, and reds. The barrel features gentlemen on horseback searching for foxes, set against a backdrop of green pastures. The attention to detail is exceptional, including a polished silver spout and a raised silver base, adding sophistication to the piece. Additionally, a matching shot-sized pail accompanies the barrel, designed for drinking the liquor with style.Issued: circa 1920sDimensions: Barrel on stand: 4.25"L x 6.25"W x 10"H; Pail: 1.5"dia x 1.75"HCountry of Origin: EnglandCondition: Age related wear.
Lot 19
A beautiful, rare porcelain vase featuring a striking hexagonal shape. The design showcases finely detailed panels adorned with vibrant birds and intricate floral garlands, reflecting the Art Nouveau influence. Delicate pastel shades combined with bold accents highlight the craftsmanship and artistic flair of Royal Doulton. Royal Doulton backstamp.Artist: Robert AllenIssued: 20th centuryDimensions: 7.75"HCountry of Origin: EnglandCondition: Age related wear.
Lot 26
pastel on paper, signed framed and under glass image size 82cm x 58cm, overall size 115cm x 90cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 608
New Kingdom, Reign of Akhenaton, Ca. 1352 - 1336 BC.A reddish-buff pottery neck fragment of a jar with face of Hathor and papyrus columns. Elaborately decorated neck in red, black, and blue. The pastel pigment was made from ground-up blue frit, a mixture of cobalt and alum. Originally, potters relied on blue paint to accentuate small details, such as the grape cluster hanging from a vine on the wine jar in this case. Over time, artists began to use blue paint for more complex designs and figures.Size: 120mm x 140mm; Weight: 425gProvenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s.
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